moth
Photography, as a medium, as an art form, in its inexhaustible invention of deduction and speculation, is nothing more than a chemically processed imprint causally connected to reality. Its endless, relentless representations are bound to neither truth nor objectivity. We pretend to perceive things properly, accurately, truly, but all we are ever seeing is another approximation. Void of definitive statements and an authorial positioning, this body of work explores the potential for free association and figurative analogies rarely assigned to the medium before the ontology of digital photography. With a sensibility that builds on and corrupts the familiar, the compositions disrupt logical relationships between occurrences, subverts scale, marries the irrational. Through this process of intervention, interrogation, and re-inscription, reality becomes rearranged. The imagery is no longer temporal artifacts but abstractions, open to psychological interpretation, imagination, thought patterns, and the subconscious. They are as real, as they are untrue.
